Paul Davies | Domus

The MAK Center for Art and Architecture in West Hollywood and This x That (who dedicates to bringing architecture and design to broader audiences) present a site-specific installation by artist Paul Davies at the Fitzpatrick-Leland House in Los Angeles.

“Reflecting the influence of mentor Frank Lloyd Wright, the house exemplifies Rudolph Schindler’s practice of bringing the natural environment into interior space. In opposition, therefore, to the notion of modern architecture’s austerity, the relationship between the interior and the exterior – through its continuity – is complicated once again by Davies who layers stencils of alternative landscapes to disrupt the boundaries between built and natural environments.”

To read the full article please click here.

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A Moment with Paul Davies | My Design Alley

Paul Davies recently spoke with My Design Alley about his aspirations and motives behind his exhibition Everything Loose will Land in LA

“Like Hockney’s polaroid collages, my series depict deconstructed scenes that tell a story from different perspectives.”

Untitled 2017 acrylic on silk screen canvas 152 x 123 cm



Horizon Hotel in Forest 2017 acrylic on linen 122 x 91 cm

To read the full article, please click on the following link

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Paul Davies | MAK Center for Art and Architecture

Opening at OLSEN gallery on the 30th of August is Paul Davies Everything Loose will Land in LA.

Here, Paul speaks of his process and the inspiration behind his upcoming show.


The show will run from 30 August – 17 September 2017.

Exhibition Opening Wednesday 30th August 2017, 6 – 8 pm

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OLSEN Gallery artist Paul Davies’ extraordinary installation has been featured in this week’s LA WEEKLY.

On view by appointment from June 7-25, 2017, the installation features recently completed paintings, bronze sculptures, and photograms that activate the Rudolph Schindler-designed Fitzpatrick-Leland House in the Hollywood Hills. A portion of the proceeds from sales will be donated to the MAK Centre towards the restoration of the historic home.


Fitzpatrick-Leland House (2017)

Paul Davies, Untitled (Pool), 2017

“I’m trying to navigate where I am and likening the Australian landscape, which is very hot, to Arizona, my new home at the time, as a way of mapping where I am and using the photographic process to do it.”

To read the full article, please click here.

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Paul Davies announces site-specific installation at Fitzpatrick-Leland House, Los Angeles | In collaboration with This X That

Olsen Gallery is proud to announce Paul Davies’ upcoming collaboration with The MAK Centre for Art and Architecture and THIS X THAT for a site-specific installation, comprising of new and recently completed paintings, bronze sculptures and photograms at the Fitzpatrick-leland House in Los Angeles.

On view by appointment from June 7-25, 2017, the installation features recently completed paintings, bronze sculptures, and photograms that activate the Rudolph Schindler-designed Fitzpatrick-Leland House in the Hollywood Hills. A portion of the proceeds from sales will be donated to the MAK Centre towards the restoration of the historic home. 

Fitzpatrick-Leland House (1936) Laurel Canyon, Los Angeles 90046

Visit the MAK Center for Art and Architecture website here.

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Olsen artist Paul Davies speaks to Monster Children Magazine this month about his processes, inspiration, and imagination.

Interview by Erin Bromhead.


Portrait by Hareth Tayem / All artwork by Paul Davies

If patience is a virtue, then Paul Davies is a saint.

The Australian born, Los Angeles based artist spends more time contemplating and creating his work than most of us spend living at one address. His paintings first exist as photographs, which he leaves hanging in his studio for up to six months before deeming them worthy for use, only to then become intricate stencils, painstakingly cut by hand. The end result is art you wish you could physically visit—houses whose front doors you want to open, yards you yearn to BBQ in, pools you pine to dive under… you get the gist.

The driving force behind every piece of Paul’s work is memory, and how it compares to the reality of something. Whilst such a comparison seems more like a duel between mind vs. actuality, his works show no sign of struggle. In fact, they seem to bring about a sense of peace. On the heels of opening his latest exhibition, ‘Life Stills’ at Melbourne’s Sophie Gannon Gallery, we talked with him about process, his favourite memories, and operating a scalpel blade with a hangover.


Your paintings start as photographs, which are then made into stencils. Can you explain your process?

Sure. So, the overarching theme of my work is memory. I am comparing what the camera records with what you remember of something happening. So I go out and take photographs of different places—places that I research and want to photograph or places I just stumble upon and find interesting, and then I print a bunch out and put them on the studio wall, and if I still like them in six months or so, I start to use them. What I do from there is I enlarge them so they are the size of a poster, and then I cut a stencil, or a screen, out of the photograph so it’s cutting away all the shadows or all the negative space using a scalpel blade, and that’s the part that takes really long, because it’s all hand done. So it’s using my memory of the photograph and then I’m cutting back into my own memory and filling it with paint.

Is 6 months a concrete amount of time before you will work with the photo?

No, it’s just usually enough time to let it settle. It’s kind of arbitrary but it usually ends up being around that amount of time because you’ve had it up on the studio wall and if it’s still talking to you and you still think it’s interesting then it’s a good sign that it’s worth turning into a painting.


Your colour palettes are always interesting—how do you end up with such different colours in a piece when you can see the real ones in the photo?

 I think that it’s all intuitive. So, I try to make the colours as incorrect to nature as possible, like blocking out the sky so that it’s green and then the pool will be pink or something like that, which doesn’t make sense but because its based on a photograph it’s still rational image, like the content makes sense but it’s more of an emotional, intuitive thing. And that’s really just trial and error, I don’t set out saying it’s going to be this or that colour. Because they’re painted in layers, quite often I’ll go through five or six colour combinations before I get to the image. And if you look closely in the work, you can see the previous layers that have been built up through that process.

Obviously your move to Los Angeles has heavily influenced your work—what is it about the city’s aesthetic that inspires you so much?

 I like that it keeps tripping you up—you think that you understand part of it but then it just throws something else at you. I also like that it’s linear and sprawling, rather than vertical. The kind of idea that there are corners, and every time you turn a corner you see something new, and so that, for me, and I think a lot of creative people, is interesting because it presents different challenges.


Have you ever painted your own house?

My mum lived in this house in Lismore for a little while and I painted it, but like all of the pictures that I do, it was a combination of elements—so I took a picture of her house and then I pimped it, basically. I added a pool, and put palm trees in it and mountains behind it.

Have you ever exhibited any of the photos that you take?

Not as photos themselves, but I have exhibited some of the cut out photos that I’ve used as the stencils for the paintings. So, I will hang the stencils up and they’ve got all these layers of paint on them because they’ve been used in different paintings, and that’s been a good way to show the process of the work, and also that it’s a photograph but then when you cut away all the negative space it stops being a two-dimensional thing and it becomes a sculpture. I actually studied sculpture at school because I failed painting.


If your work is all about memory, what is one of your favourite memories from the last year?

 My residency in Phoenix at Frank Lloyd Wright School of Architecture. That was for the whole month of February, and was where I did those photograms using the sunlight. It was amazing because they put you up for the month, and they award six a year so I was really lucky to be awarded one. It’s so hot up there—even though it was coming out of winter—and it hardly rains, and it reminded me of Australia as well. So I used that idea of being away from home and then being in a new place both having this really strong sunlight and I used that as the main point for those works where they were using sunlight instead of paint but still the stencil to make these works and I did one a day while I was there.



Davies’ photograms created during his residency, made by exposing sunlight through a stencil onto paper painted with light sensitive liquid.

What time of day has the best light?

If I had to chose just one time of day, there’s a weird time when you’re down near the coast and you’re driving along—it might sound cliché, but along the PCH—sometimes there’s a haze there and they call it a marine layer, but it’s basically just fog and mist. But it sits there and then burns off during the day, but if it’s sunny and that mist is still there, it creates this really weird kind of filter over everything. If you’re down on the coast in the morning when it happens, that’s pretty cool.

The stencils you cut are really intricate; you must have such a steady hand. Have you ever tried to work hung over?

Ha! I try to avoid it. It just takes so long, and you need to get in the zone to do it, ’cause it doesn’t give back anything immediately, and that’s kind of one thing I like about it, that you start it and you just have to settle in and take your time, there’s no instant gratification.


Paul’s ‘Life Stills’ exhibition is open now until 12 November, 2016 at Sophie Gannon Gallery.

See the original article at Monster Children Magazine

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Tattersall's Club Landscape Art Prize Finalists

Olsen Irwin would like to congratulate our 4 finalists in the Tattersall’s Club Landscape Art Prize; Alan Jones, Guy Warren, Kathryn Ryan and Paul Davies.

A special congratulations to Guy Warren for his ‘highly commended’ Red Hot Bowl – Trephina Gorge, Alice Springs (pictured below)

guy-warren-red-hot-bowl-trephina-gorgeGuy Warren

Red Hot Bowl – Trephina Gorge, Alice Springs

jones-alan-painting-161-dunningham-reserveAlan Jones

Painting 161 – Dunningham Reserve

art-prize-imagePaul Davies

Black Forest

ryan-kathryn-illuminated-pinesKathryn Ryan

Illuminated Pines

The prize was judged on Tuesday, the judging panel comprised Chris Saines, Director Queensland Art Gallery and Goma,  Dr Campbell Gray, Director University of Queensland Art Museum, Stella Downer, Art Consultant and judge of the Salon des Refusés, and Ernie Ward, Tattersall’s Club Committee Member. The exhibition will hang in the Foyer at Waterfront Place for a public exhibition from Monday 12 September and concluding on Friday 23 September.



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Paul Davies Highly Commended in Chippendale Art Prize

Olsen Irwin would like to congratulate Paul Davies for his high commendation in the New World Chippendale Art Prize.

The Chippendale New World Art Prize represents the advent of a new world where art spreads across all arenas to create new possibilities. Chippendale has undergone a tremendous transformation from its simple beginnings as an industrial suburb to what is now a landscape of creative ventures spanning contemporary art galleries to innovative visual technologies.

The Chippendale New World Art Prize stems from a ten-year donation of $100,000 by arts philanthropist and current Executive Chairman of Greencliff Pty Ltd, Dr Stanley Quek. Since its inception in 2013, this Art Prize fosters excellence for all creative individuals and agencies, working in formal or informal fields of practice.

Paul Davies received highly commended for his work  ‘Feb 10, 21c mostly sunny, 10:16a.m. 7 mins exposure, outside ceramic studio’

In February, Davies was awarded the artist residency at the Frank Lloyd Wright School of Architecture, Phoenix. Responding to the notion of ‘organic architecture’, he created a series of 24 photograms, one per day at various locations around of the property. Sunlight and moonlight are captured at different locations onto paper painted with gum bichromate, a photosensitive solution developed in the 1800’s. Using a stencil cut from the photo of the exterior of the Frank Lloyd Wright building, the image was reduced to a silhouette, blending architecture and landscape.

To view works available by Paul Davies Click here

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The McClelland Sculpture Park and Gallery on the Mornington Peninsula currently is exhibiting two works by Olsen Irwin artists Paul Davies and Cherry Hood as part of their permanent collection rotation.

The McClelland’s permanent collection consists of over 2,200 works of art encompassing sculpture, paintings, photography, works-on-paper and more. This exhibition brings together a selection of key contemporary works from McClelland’s collection dating from 1990. Both old favourites and recent acquisitions by many of Australia’s acclaimed contemporary artists, working across a range of mediums and styles, are presented in celebration of the continuing growth and significance of McClelland’s permanent collection.

Paul Davies

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Paul DAVIES, Abandoned roadside II 2012 acrylic on linen, 136.5 x 167.0 cm

Davies’ Abandoned roadside II reflects the artist’s interest in modernist architecture, in particular buildings which are disused and neglected. Davies’ interest in architecture is explored as he experiments with representing three dimensional forms on two dimensional surfaces. Drawn from an amalgamation of photographs taken during his travels, Davies adapts images into stencils which he then uses when painting onto canvas. The subject of Abandoned roadside II is a disused petrol station in the rural town of Marulan, located along the Hume Highway in New South Wales. The ‘auto port’ petrol station was bypassed by the freeway during its construction, ultimately sending it into redundancy.

To view avaliable works by Paul Davies click here

 Cherry Hood

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Cherry HOOD, Harolds End print folio 2004 ,archival inks on Velin white paper, 85.0 x 59.5 cm each

Hood’s Harolds End series of watercolour portraits depict the adolescent characters of J.T. LeRoy’s novella Harold’s End. These delicate but raw and unsettling portraits capture the deteriorating innocence of LeRoy’s destitute San Francisco street kids and their motley pets. The story follows Oliver, who lacks a pet until he is given Harold the garden snail, who he loves and cares for unconditionally. The depictions of these characters align with Hood’s previous watercolour portraits of adolescent males, where the raw qualities of youth are conveyed through the subdued colours and dripped edge.

To view available works by Cherry Hood click here

The works will be on view until the 19th of June and features works by Rick Amor, Stephen Bush, Paul Davies, Jennifer Goodman, Richard Giblett, Cherry Hood, Robert Jacks, Rosemary Laing, Christopher Langton, Ron Mueck, Jan Nelson, Jim Paterson, Patricia Piccinini, Alex Seton, Kate Spencer, Colin Suggett, Simon Terrill and Stephen Wickham.

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Paul Davies | Exhibition at UNSW Art and Design

Paul Davies had a one night only exhibition at the galleries at UNSW Art and Design. This show comprises of the work Paul has completed for his masters at the UNSW College of Fine Arts.

Paul Davies has been exhibiting as an artist since 1999 both in Australia and internationally. He has a studied at the National Art School and completed a Bachelor of Fine Arts at the UNSW College of Fine Arts and it is with this show that he also completes his masters by research. Paul’s work is in public and private collections around the world. The artist lives and works in California.




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expoten  expotwelve





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